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Three of Danny Williams’ intimate experimental portraits of the 60’s Warhol Factory, screened with an original, immersive live score by T. Griffin and Catherine McRae from The Quavers.
In 1966 Danny Williams disappeared. He was Andy Warhol’s lover, a filmmaker and the designer of the Velvet Underground Exploding Plastic Inevitable lightshow. Almost 40 years later, his niece Esther B. Robinson found 20 short films Williams made during the year before he vanished. Her documentary inquiry into his disappearance, A Walk into the Sea: Danny Williams and The Warhol Factory, has screened all over the world, won the coveted Teddy Award at the Berlin International Film Festival, and was released theatrically in 2008 by ArtHouse Pictures.
Danny Williams’ extraordinary intimate experimental portraits of the Warhol Factory bring us into that iconic moment with a tenderness and shimmering beauty that stand in fascinating contrast to Warhol’s own films made at the time. Lost for 40 years, these luminous documents are now finally available to be screened.
Factory Film by Danny Williams
USA, 1965, 22 minutes, digital projection, silent
Factory Film features amazingly intimate footage of Andy Warhol along with other factory stars like Brigid Berlin, Billy Name, and more.
Harold Stevenson Pts. 1 and 2 by Danny Williams, score by T. Griffin and Catherine McRae
USA, 1965, 40 minutes, live score
Harold Stevenson part 1 and 2 showcases an incandescent Edie Sedgwick along with Paul America, Ingrid Superstar and Gerard Malanga (among others). This film screens with a live soundtrack. For the luminous 40 minute film “Harold Stevenson parts 1 and 2″, T. Griffin and Catherine McRae have created a score for guitar, violin, samples and walkman. They have looked to the music that electrified The Factory in 1966 and created an immersive, oceanic abstraction of bubblegum pop, LaMonte Young-inspired drones and of course The Velvet Underground. Taking cues from modern ambient artists like Tim Hecker and Belong, Griffin and McRae bury melodies deep under shimmering drones that shift gradually over the films’ 40 minutes, evoking both the joyful optimism that pervades the footage and also the sense of lost history and promise that buried the films for almost 40 years.
The Velvet Underground by Danny Williams
USA, 1965, 9 minutes, digital projection silent
The earliest known footage of the VU, and stars the impossibly young-looking band rehearsing at the Factory. Featuring Lou Reed, John Cale, Maureen Tucker, Sterling Morrison, Gerard Malanga.
Esther Robinson is an award-winning filmmaker and producer. Her critically acclaimed directorial debut A Walk into the Sea: Danny Williams and The Warhol Factory took top prizes at The Berlin, Tribeca and Chicago film festivals; is currently in international theatrical release and available on The Sundance Channel/Netflix/I-tunes. Other producing projects include the film Home Page (Doug Block HBO/Cinemax) and PBS series Alive From Off Center. In addition to producing, Esther Robinson is also the founder of ArtHome (http://www.ArtHomeOnline.org) a nonprofit that helps artists build assets and equity through financial literacy, homeownership, self-sufficiency and the responsible use of credit.
T. Griffin is a songwriter, composer and producer working in Brooklyn, New York. Alone and with his band The Quavers he has released four critically acclaimed CDs of songs in a homespun electronic style that’s been described as ‘porch techno’. He has scored a dozen feature films and at least as many shorts, live projects, plays and art installations. Notable collaborations include Jem Cohen, Michael Almereyda, Peter Sillen, Tze Chun, Kimberly Reed, Anne Bogart, Esther B. Robinson, Sam Green and Brent Green.
As a producer and player he has worked with musical luminaries including Vic Chesnutt, Patti Smith, Tom Verlaine and members of godspeed you! black emperor, DJ/Rupture, Fugazi and The Ex. Griffin was a 2008 fellow at the Sundance Institute Composer’s Lab.
Catherine McRae has played violin and electronics and sung with The Quavers and T. Griffin Coraline, two collaborations with T. Griffin over the last 8 years, as well as numerous live collaborations with Griffin and Filmmakers such as Jem Cohen and Brent Green. She has also collaborated and toured internationally with the band Barbes and with the stage director Richard Maxwell, and performed with Patti Smith.
Scott Macaulay is a New York-based producer and the Editor-in-Chief of Filmmaker Magazine, the leading American magazine devoted to independent film. In this position, he directs the magazine’s editorial content, including special features such as its annual “25 New Faces.” As a producer and along with his partner, Robin O’Hara, and his production company, Forensic Films, Macaulay has produced or executive produced many award-winning features. They include: Peter Sollett’s Raising Victor Vargas; Harmony Korine’s Gummo and julien donkey-boy; Alice Wu’s Saving Face; Tom Noonan’s What Happened Was and The Wife; Jesse Peretz’s The Chateau’ Bryan Barber’s Idlewild; and James Ponsoldt’s Off the Black. Most recently, he produced artist Candice Breitz’s video and performance piece “New York, New York” for Performa ’09. He was formerly the Programming Director of The Kitchen Center for Video, Music, Dance, Performance and Film.
New Live project featuring former Bad Company/Humble Pie guitarist, Dave 'Bucket' Colwell, and members of the band ROADWAY. Pictured here at the MV Festival in the Hilton Hotel in Coylumbridge.
Op 30 maart 2013 bezocht wereldact Alan Parsons Live Project het Muziekcentrum in Enschede.
Foto's: Ramona Kasius
The Cliftones joined Elementree Livity Project, Sundae Drives, Cincinnati Reggae All-Stars and others for the second annual Reggae Resolution show held at Bogart's in Cincinnati, Ohio.
Op 30 maart 2013 bezocht wereldact Alan Parsons Live Project het Muziekcentrum in Enschede.
Foto's: Ramona Kasius
MAC e-Learning Revolution Pvt Ltd -Leader in Advanced Civil/Mechanical/Structural Engineering CAD/CAM/CAE Video Training with Live Projects.
Exporting is Great Opportunity Ireland held DIT Ireland in partnership with the British & Irish Trading Alliance, Greater Manchester Chamber of Commerce, Bank of Ireland, DRS Bond Management, Roberts Nathan and AMOSS Solicitors hosted “Opportunity: Ireland”, a unique event for the Northern Powerhouse construction supply chain. Delivered through a half-day seminar that included presentations and panel discussions, UK companies heard directly from their Irish counterparts currently working within the industry, with information on live projects and business opportunities, straight forward advice on how to sell into these firms, and the supports available when exporting to Ireland.” at Old Trafford home of Manchester United
National Theatre London UK - Architect Denys Lasdun - 1976
Denys Lasdun's National Theatre – one of London's best-known and most divisive Brutalist buildings – is a layered concrete landscape that Prince Charles once described as being like "a nuclear power station". Completed in 1976, the Royal National Theatre stands on the South Bank of the Thames, just downstream of Waterloo bridge. It is formed from two fly towers rising from layered horizontal terraces that wrap around the building, cascading to the river level. The design for the building was based on Lasdun's idea of "architecture as urban landscape." Lasdun was appointed to the project in 1963. With no previous experience in theatre design, he persuaded the board of theatre directors, designers and technical experts to give him the job without a team alongside him but with the drama of a solo-performance. The National Theatre was a live project for 13 years, with two years spent on the main theatre alone. Lasdun described the early design process as one of evolution, shaped by consultation with the committee. He stated that it began with the spaces of the theatres themselves, "before we even knew what the outside would look like". The structure is vast and city-like in plan. It accommodates three theatres, the largest seating 1,160 people, alongside restaurants, bars, foyers, workshops and all the mechanics necessary. The open-stage theatre, the Olivier, is shaped like a giant ancient amphitheatre and occupies a large area away from the bridge that runs along one side of the site, while the smaller Proscenium theatre, with an arch over the stage, sits on the bridge. A small studio theatre is tucked away to the east side of the building, alongside the offices and other administrative functions.
Great attention was paid to the details of the "quiet" interior of the theatre: lighting, sign posting, fittings, the auditorium seats, a change from the stucco and mirrors of theatres of the period. Lasdun even selected the crockery and cutlery for the restaurant. Internally and externally, the rough-cast concrete surface of the National Theatre shows the imprint of the sawn wooden planks used in the casting process, which were supposedly each only used twice, once on each side. Talking to Peter Hall, the National Theatre's director between 1973 and 1988, Lasdun described the use of concrete: "Concrete is a very intractable material, but it can be a beautiful material if it is used in the way its own nature intends it to be used... It is a sort of sculpture that you can only do with reinforced concrete, but you need to work to a certain scale... It is not a cosy little material."
On the river side, a series of interconnected foyers make up the main public area, in an L-shape around the two larger theatres. Admiration of the National Theatre tends to focus on the magic of these internal spaces, which tower in sections to their full height. It has come to be thought of as one of the city's key communal spaces, described as "the nation's sitting room". Lasdun himself described these spaces as a "fourth theatre". He said "I feel that all the public areas of the building, the foyers and terraces, are in themselves a theatre with the city as a backdrop." These public interior spaces merge with the terraces outside. Lasdun's strata make it hard to define where the National Theatre begins and ends. The interconnected walkways, split levels and circular stairwells of the South Bank merge with the city itself. Installations and temporary structures have occupied the terraces in the past, including a bright red auditorium by Haworth Tompkins. Skateboarders came to use the terraces and under crofts of Lasdun's National Theatre and the other buildings on the South Bank as their playground. Early on, this occupation was seen as evidence of failed architecture yet a recent successful campaign to save the South Bank skate park has acknowledged it as one of the great spaces of London. The National Theatre gained a Grade II heritage listing in 1994, only 18 years after it was built.
Despite being thought of with affection by many, such a large public building is bound to provoke controversy.
The Cliftones joined Elementree Livity Project, Sundae Drives, Cincinnati Reggae All-Stars and others for the second annual Reggae Resolution show held at Bogart's in Cincinnati, Ohio.
National Theatre London UK - Architect Denys Lasdun - 1976
Denys Lasdun's National Theatre – one of London's best-known and most divisive Brutalist buildings – is a layered concrete landscape that Prince Charles once described as being like "a nuclear power station". Completed in 1976, the Royal National Theatre stands on the South Bank of the Thames, just downstream of Waterloo bridge. It is formed from two fly towers rising from layered horizontal terraces that wrap around the building, cascading to the river level. The design for the building was based on Lasdun's idea of "architecture as urban landscape." Lasdun was appointed to the project in 1963. With no previous experience in theatre design, he persuaded the board of theatre directors, designers and technical experts to give him the job without a team alongside him but with the drama of a solo-performance. The National Theatre was a live project for 13 years, with two years spent on the main theatre alone. Lasdun described the early design process as one of evolution, shaped by consultation with the committee. He stated that it began with the spaces of the theatres themselves, "before we even knew what the outside would look like". The structure is vast and city-like in plan. It accommodates three theatres, the largest seating 1,160 people, alongside restaurants, bars, foyers, workshops and all the mechanics necessary. The open-stage theatre, the Olivier, is shaped like a giant ancient amphitheatre and occupies a large area away from the bridge that runs along one side of the site, while the smaller Proscenium theatre, with an arch over the stage, sits on the bridge. A small studio theatre is tucked away to the east side of the building, alongside the offices and other administrative functions.
Great attention was paid to the details of the "quiet" interior of the theatre: lighting, sign posting, fittings, the auditorium seats, a change from the stucco and mirrors of theatres of the period. Lasdun even selected the crockery and cutlery for the restaurant. Internally and externally, the rough-cast concrete surface of the National Theatre shows the imprint of the sawn wooden planks used in the casting process, which were supposedly each only used twice, once on each side. Talking to Peter Hall, the National Theatre's director between 1973 and 1988, Lasdun described the use of concrete: "Concrete is a very intractable material, but it can be a beautiful material if it is used in the way its own nature intends it to be used... It is a sort of sculpture that you can only do with reinforced concrete, but you need to work to a certain scale... It is not a cosy little material."
On the river side, a series of interconnected foyers make up the main public area, in an L-shape around the two larger theatres. Admiration of the National Theatre tends to focus on the magic of these internal spaces, which tower in sections to their full height. It has come to be thought of as one of the city's key communal spaces, described as "the nation's sitting room". Lasdun himself described these spaces as a "fourth theatre". He said "I feel that all the public areas of the building, the foyers and terraces, are in themselves a theatre with the city as a backdrop." These public interior spaces merge with the terraces outside. Lasdun's strata make it hard to define where the National Theatre begins and ends. The interconnected walkways, split levels and circular stairwells of the South Bank merge with the city itself. Installations and temporary structures have occupied the terraces in the past, including a bright red auditorium by Haworth Tompkins. Skateboarders came to use the terraces and under crofts of Lasdun's National Theatre and the other buildings on the South Bank as their playground. Early on, this occupation was seen as evidence of failed architecture yet a recent successful campaign to save the South Bank skate park has acknowledged it as one of the great spaces of London. The National Theatre gained a Grade II heritage listing in 1994, only 18 years after it was built.
Despite being thought of with affection by many, such a large public building is bound to provoke controversy.
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The Cliftones joined Elementree Livity Project, Sundae Drives, Cincinnati Reggae All-Stars and others for the second annual Reggae Resolution show held at Bogart's in Cincinnati, Ohio.
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The Cliftones joined Elementree Livity Project, Sundae Drives, Cincinnati Reggae All-Stars and others for the second annual Reggae Resolution show held at Bogart's in Cincinnati, Ohio.
Do you like the pictures? Press “F”, and feel free to comment below. =)
Here a quick black & white set about Just Debout 2013.
As usual I worked for DA VIBE, but this time I worked with a friend from The (A)live project Romain Gibier you can find more pictures about this event on the last magazine:
DA VIBE #16 SPRING 2013 .(pages 62-63 )
My friend and i also made a set for Stepx Step Dance : Here
-----------------------------------------------------------------------------------------------------------------------
Voici un petit extrait de mes photos de Just Debout 2013.
J’ai été en équipe avec un ami de The (A)live Project pour la couverture de Just Debout (pour le magazine Da Vibe).
Plus de photos sont disponibles dans l’article concerné dans le dernier magazine :
DA VIBE #16 SPRING 2013 .(pages 62-63 )
Nous avons aussi realisé un second set de photo pour la communauté Setp X Step Dance :
The Cliftones joined Elementree Livity Project, Sundae Drives, Cincinnati Reggae All-Stars and others for the second annual Reggae Resolution show held at Bogart's in Cincinnati, Ohio.
PHP Training in Lucknow at Debuggers is designed as per the Industrial Requirement with Live Project. Join Best PHP Training Institute in Lucknow with 100% Job Assistance. Debuggers have a team of highly experienced professionals as well as technical faculties cum developers with more than 10 years of experience in PHP programming and other related PHP technologies. For more info call us 9026200046 or visit :- www.debuggers.in/course/180-days-6-months-php-training-pr...
The Cliftones joined Elementree Livity Project, Sundae Drives, Cincinnati Reggae All-Stars and others for the second annual Reggae Resolution show held at Bogart's in Cincinnati, Ohio.
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ExcelR offers the best digital marketing course training in Bangalore. This claim is not by the organization but it's by the students. Faculty are working Digital marketing professionals who have ample experience in handling projects. We offer live projects which have very good value in the market. The perfect definition of marketing is experimenting, observing and research strategies. Digital marketing without online tools is not complete. We provide you popular tools like SEMrush, KWfinder, Ahrefs and many more paid tools. According to stats, there is a huge skill gap in digital marketing by the end of 2020.
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Construction commences on the massive LA Live project, designed to attract people to the city's core.
Do you like the pictures? Press “F”, and feel free to comment below. =)
Here a quick black & white set about Just Debout 2013.
As usual I worked for DA VIBE, but this time I worked with a friend from The (A)live project Romain Gibier you can find more pictures about this event on the last magazine:
DA VIBE #16 SPRING 2013 .(pages 62-63 )
My friend and i also made a set for Stepx Step Dance : Here
-----------------------------------------------------------------------------------------------------------------------
Voici un petit extrait de mes photos de Just Debout 2013.
J’ai été en équipe avec un ami de The (A)live Project pour la couverture de Just Debout (pour le magazine Da Vibe).
Plus de photos sont disponibles dans l’article concerné dans le dernier magazine :
DA VIBE #16 SPRING 2013 .(pages 62-63 )
Nous avons aussi realisé un second set de photo pour la communauté Setp X Step Dance :
National Theatre London UK - National Theatre London UK - Architect Denys Lasdun - 1976
Denys Lasdun's National Theatre – one of London's best-known and most divisive Brutalist buildings – is a layered concrete landscape that Prince Charles once described as being like "a nuclear power station". Completed in 1976, the Royal National Theatre stands on the South Bank of the Thames, just downstream of Waterloo bridge. It is formed from two fly towers rising from layered horizontal terraces that wrap around the building, cascading to the river level. The design for the building was based on Lasdun's idea of "architecture as urban landscape." Lasdun was appointed to the project in 1963. With no previous experience in theatre design, he persuaded the board of theatre directors, designers and technical experts to give him the job without a team alongside him but with the drama of a solo-performance. The National Theatre was a live project for 13 years, with two years spent on the main theatre alone. Lasdun described the early design process as one of evolution, shaped by consultation with the committee. He stated that it began with the spaces of the theatres themselves, "before we even knew what the outside would look like". The structure is vast and city-like in plan. It accommodates three theatres, the largest seating 1,160 people, alongside restaurants, bars, foyers, workshops and all the mechanics necessary. The open-stage theatre, the Olivier, is shaped like a giant ancient amphitheatre and occupies a large area away from the bridge that runs along one side of the site, while the smaller Proscenium theatre, with an arch over the stage, sits on the bridge. A small studio theatre is tucked away to the east side of the building, alongside the offices and other administrative functions.
Great attention was paid to the details of the "quiet" interior of the theatre: lighting, sign posting, fittings, the auditorium seats, a change from the stucco and mirrors of theatres of the period. Lasdun even selected the crockery and cutlery for the restaurant. Internally and externally, the rough-cast concrete surface of the National Theatre shows the imprint of the sawn wooden planks used in the casting process, which were supposedly each only used twice, once on each side. Talking to Peter Hall, the National Theatre's director between 1973 and 1988, Lasdun described the use of concrete: "Concrete is a very intractable material, but it can be a beautiful material if it is used in the way its own nature intends it to be used... It is a sort of sculpture that you can only do with reinforced concrete, but you need to work to a certain scale... It is not a cosy little material."
On the river side, a series of interconnected foyers make up the main public area, in an L-shape around the two larger theatres. Admiration of the National Theatre tends to focus on the magic of these internal spaces, which tower in sections to their full height. It has come to be thought of as one of the city's key communal spaces, described as "the nation's sitting room". Lasdun himself described these spaces as a "fourth theatre". He said "I feel that all the public areas of the building, the foyers and terraces, are in themselves a theatre with the city as a backdrop." These public interior spaces merge with the terraces outside. Lasdun's strata make it hard to define where the National Theatre begins and ends. The interconnected walkways, split levels and circular stairwells of the South Bank merge with the city itself. Installations and temporary structures have occupied the terraces in the past, including a bright red auditorium by Haworth Tompkins. Skateboarders came to use the terraces and under crofts of Lasdun's National Theatre and the other buildings on the South Bank as their playground. Early on, this occupation was seen as evidence of failed architecture yet a recent successful campaign to save the South Bank skate park has acknowledged it as one of the great spaces of London. The National Theatre gained a Grade II heritage listing in 1994, only 18 years after it was built.
Despite being thought of with affection by many, such a large public building is bound to provoke controversy.
Surrey LUG Bring-a-Box meeting at Nokia, Farnborough.
Kai Hendry talking about the Debian Live project.
Best MS Power BI Online Training provided by RizeTrainings with 10+ years Experts,Live Projects, Certification Support in Hyderabad India, USA, UK, Canada, Japan.
Do you like the pictures? Press “F”, and feel free to comment below. =)
Here a quick black & white set about Just Debout 2013.
As usual I worked for DA VIBE, but this time I worked with a friend from The (A)live project Romain Gibier you can find more pictures about this event on the last magazine:
DA VIBE #16 SPRING 2013 .(pages 62-63 )
My friend and i also made a set for Stepx Step Dance : Here
-----------------------------------------------------------------------------------------------------------------------
Voici un petit extrait de mes photos de Just Debout 2013.
J’ai été en équipe avec un ami de The (A)live Project pour la couverture de Just Debout (pour le magazine Da Vibe).
Plus de photos sont disponibles dans l’article concerné dans le dernier magazine :
DA VIBE #16 SPRING 2013 .(pages 62-63 )
Nous avons aussi realisé un second set de photo pour la communauté Setp X Step Dance :
Do you like the pictures? Press “F”, and feel free to comment below. =)
Here a quick black & white set about Just Debout 2013.
As usual I worked for DA VIBE, but this time I worked with a friend from The (A)live project Romain Gibier you can find more pictures about this event on the last magazine:
DA VIBE #16 SPRING 2013 .(pages 62-63 )
My friend and i also made a set for Stepx Step Dance : Here
-----------------------------------------------------------------------------------------------------------------------
Voici un petit extrait de mes photos de Just Debout 2013.
J’ai été en équipe avec un ami de The (A)live Project pour la couverture de Just Debout (pour le magazine Da Vibe).
Plus de photos sont disponibles dans l’article concerné dans le dernier magazine :
DA VIBE #16 SPRING 2013 .(pages 62-63 )
Nous avons aussi realisé un second set de photo pour la communauté Setp X Step Dance :
Do you like the pictures? Press “F”, and feel free to comment below. =)
Here a quick black & white set about Just Debout 2013.
As usual I worked for DA VIBE, but this time I worked with a friend from The (A)live project Romain Gibier you can find more pictures about this event on the last magazine:
DA VIBE #16 SPRING 2013 .(pages 62-63 )
My friend and i also made a set for Stepx Step Dance : Here
-----------------------------------------------------------------------------------------------------------------------
Voici un petit extrait de mes photos de Just Debout 2013.
J’ai été en équipe avec un ami de The (A)live Project pour la couverture de Just Debout (pour le magazine Da Vibe).
Plus de photos sont disponibles dans l’article concerné dans le dernier magazine :
DA VIBE #16 SPRING 2013 .(pages 62-63 )
Nous avons aussi realisé un second set de photo pour la communauté Setp X Step Dance :
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For more than a century, there have been countless patents, projects, and concepts relating to tailless airplanes. Many models and prototypes were constructed; most enjoyed only a brief period of development and public interest, and then quickly disappeared. From an engineering viewpoint, a high percentage of these short-lived projects were possibly well founded and deserving of serious consideration and further development. The lack of adequate financial backing, lack of government or public interest, and politics often contributed to the premature end of a worthwhile project. For the most part, these projects were pursued by independent promoters who made little attempt to coordinate their investigations. Gradually, however, a large body of technical data on tailless aircraft was accumulated. Although no organized data-exchange program appeared to have existed during the 1920s and 1930s, articles on tailless projects could be read frequently in aviation journals, both in the United States and abroad. Whether these articles inspired or assisted the competition is conjectural.
East front of the former Catholic Apostolic Church of the Nazarene, Victoria Street, Sheffield.
ABOUT THIS LIVE PROJECT
The Church of the Nazarene on Victoria Street, Sheffield, is currently a disused, grade II listed building owned by the University. Despite the music department moving into the adjacent Jessop building and new, purpose-built SoundHouse, they are still lacking a space for performance. The vision is to adapt the empty church into a licensed performance space for music, which can become a home for music and a face for musicians to present their music to the city of Sheffield.
The music department engages in a diverse range of performing activities from classical chamber music, to opera and contemporary music theatre, including world music performance, electroacoustic music and mixed media. The proposed performance space will be central to the day to day functioning (rehearsing, performing, teaching) as well as knowledge transfer and community activities, of the music department. Ensemble in residence Ensemble 360 and world music performer in residence John Ball would perform there, along with a steady stream of internationally acclaimed visiting performers.
home4musicinsheffield.blogspot.co.uk
See also:-
www.britishlistedbuildings.co.uk/en-456947-church-of-the-...
New Live project featuring former Bad Company/Humble Pie guitarist, Dave 'Bucket' Colwell, and members of the band ROADWAY. Pictured here at the MV Festival in the Hilton Hotel in Coylumbridge just chilling at the bar.
Do you like the pictures? Press “F”, and feel free to comment below. =)
Here a quick black & white set about Just Debout 2013.
As usual I worked for DA VIBE, but this time I worked with a friend from The (A)live project Romain Gibier you can find more pictures about this event on the last magazine:
DA VIBE #16 SPRING 2013 .(pages 62-63 )
My friend and i also made a set for Stepx Step Dance : Here
-----------------------------------------------------------------------------------------------------------------------
Voici un petit extrait de mes photos de Just Debout 2013.
J’ai été en équipe avec un ami de The (A)live Project pour la couverture de Just Debout (pour le magazine Da Vibe).
Plus de photos sont disponibles dans l’article concerné dans le dernier magazine :
DA VIBE #16 SPRING 2013 .(pages 62-63 )
Nous avons aussi realisé un second set de photo pour la communauté Setp X Step Dance :